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City State ZIP . ------------------------- NightIY(EXCeÞI Sunday) \ Some of New York's best food and ' ; : brightest conversation are going ,:. steady as ever. Attractive duo! ,," ,.." J"< ... ., >'(' , Dinner: 5:30-9:30 / ,.;.. , - ,"''i.;r- \ Supper: 9:30 on i:; '}1 !Ö;,,1 '" /'"", ,\. and on. ' \h,iß ,).+ f :,- , ' '{' " , -"f';;;.. ,, "i1 'f;...'" J <" . ::; I :'. "- { "., "(..< <, #< f,: ,t J < : .. \ W : tJ'.... _w . '-"' r-'O : ,.."1 \' "'7' ... :"-J" ..' ".,....J \a& \ :aitre if: Rob rt 59 W. 44th 51., New York · 840-6800 Pre-theatre Diners and Dinner Guests (to 9:30) Enjoy Free Parking all Evening (5:00 p.m.-1 a.m.) own MAD, and the balloons in the strips can be filled in with dialogue right out of the picture. This leaves nothing for the magazine's artists (and the rest of us) to do but write in the sound effects, which are the most fun anyway. We can begin with the pic- ture's leitmotiv, the repeated footage about how our hero-a choreographer- director named Joe Gideon ( Roy Scheider )-begins the day. He presses the button on his stereo to start the Vivaldi tape, for the man is cultured (klik: yum-tah-tah-tah-da-de-DA HI Y um-tah-tah-tah-deedle- T A HI), uses the old eyedrops (plip... winkk), jumps into the shower (shwoarsh- sh'lvoarsh), lights a cigarette (klik... "U mmmm" . . . "Ahhh" . . . kaff), pops a Dexedrine (popp . . . glurp-glurp . . . gungg. . . ZINGG 1 1 1), and faces the mirror with a brave little smile and cries, "It's showtime, folks! " Joe smokes a lot, which is bad for him, and sometimes he grabs his left arm or secretly takes his pulse, while we get Some quick flash cuts to an oxygen mask, I.V.s, and hovering nurses-which can all be done in one messy, scary drawing. Then we might have a strip about the scene in which Joe finds time to put his own teen-age daughter, Michelle (Erzsebet Foldi), through some ballet moves in front of a rehearsal-hall mirror. First he pops another pill-probably a nitroglycerin tab (popp . . . ulp 1 "Wheeyew"). Michelle: "What's that?" Joe: "It's a mint." Michelle: "C'n I have one?" Joe: "Nah, you wouldn't like it." Then, cIgarette in mouth, he lifts her and holds her in midair, showing her how to hold her legs and move her arm. Joe: "Like this, see ? You (ka ff- kaff . . . kaff-kaff-KAFF . . . KAFF- KAFFKAFFKAFFKAFFKAFF .. kaff-kaff-kaff 1 . . . kaff-kaff . . . kaff- a-kaff) . . ." He puts her down. Then we should move along to where Joe, the great, worn-out, hard- driving, lovable-genius choreographer- director, is whipping some boys and girls into shape in the rehearsal hall. 'They are wearing sweaty old Dan- skins and brave smiles, and everybody is bushed. The piano starts again (razz- muh-tazz, boppy-doppy-doo), and the dancers move and bend together in rhythm (bennd, swooop, tappy-tapp- tap, s'lvirl, da-bop). Joe: "Stop smiling. It's not the high-school play! Again! Victoria, stretch that leg!" Victoria (she isn't meant to be a very good dancer, but Joe has been sleeping with her, see? ): "Ooh, I can't!" (Runs to dusty windo'lv and hides her head zn her arms.) "Oh, boo-hoo! Sob-sob-sob- sobsob-sobbb ,,, Joe (reszgnedly, to the I"-- C\J <.0 C\J 0) I <.( Ü (1j (f) Q.) 2 (1j û) 0 ü û) ..c t:::- or- S or- or- f'-.. JANVARY 7, 1980 piano player' he knew thls was com- ing): "Hold it, hold it." He goes over to Victoria (Deborah Geffner) and be- gins talking very quietly: "Keep try- ing. . . . Don't quit. I know I can make you better. . . . Stay " Victoria (sob . . . snif) : "Are you (sob. . . gulp) . . . are YOll going to keep on-yelling at me?" Joe (with a quiet, disarming smile): "Probably." Come to think of it, and because the MAD artists like big, messy layouts, they should probably slap another figure right into the middle of these last two scenes- vV arner Baxter, of course (lit- tle mustache, worn-out face, disarming smile), popping aspirins and smokIng a million cigarettes and coughing his head off and saying almost exactly the same lines to Ruby Keeler and Ginger Rog- ers and the other brave, tired kids in the rehearsal scenes of the first big Warner Brothers backstage movie mus- ical of them all, the 1933 hit "4 2nd Street." Two musicals for the price of one! The rehearsals in "All That Jazz" fill Joe Gideon with doubt about his work and his life (he has standards), but then the boys and girls get it to- gether and absolutely knock out the show's backers and producers with their big "Take Off with Us" dance num- ber, which is lively and acrobatic and very bare and sexy; when it's over, Joe's ex-wife, Audrey Paris (Leland Palmer), an actress-dancer who is go- ing to star in the show, even though- oh, you know. Anyway, she says, "1 don't know about the audIence, but I think it's the best work you've ever done." Then she lIfts her head, and we see that her eyes are full of tears, and she adds, "You son of a bitch! " Well, I guess the MAD artists are going to be pretty pooped themselves, because they'll certainly have to put in that mysterious female, swathed in yards of white tulle and sWIrling veils, called Angelique (Jessica Lange), who seems to represent Ms. Death, and who will have to have a "Prop. F. F ellini, Roma" stamped on her rump, and they'll want to do Cliff Gorman's big, drawable face in the sort-of-like-Len- ny Bruce part, especially when he says "I got insight into you, Gideon. You know what's underneath? The dread- ful fear that you're. . . ordinary!" and they'll have to work up a drawing that sums up those terrific (if you like them) and familiar Fosse dance num- bers-a blur of long legs and outthrust hips, tucked-in chins, hats cocked over eyes, snapping fingers, and sensuous kicks and pelvic twists and... Well, you'll get the idea when you see the magazine, or even the mOVIe. But we'll